]PS 3525 
.0773 
06 
1922 
Copy 1 



ternational Copyrighted (in England, her Col- 
s, and the United States) Edition of the 
Works of the Best Authors 

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No. 441 



On the Road to Parnassus 



A PLAY IN TWO SCENES 



BY 



KATHARINE MORSE, A. M. 



Copyright, 1922, by Samuel French 

Amateurs may produce this play without payment of 
royalty. All other rights reserved. 



Price 30 Cents 



New York 

SAMUEL FRENCH 

Publisher 

28-30 Wes'i 3Sth Street 



London 

SAMUEL FRENCH, Ltd. 

26 Southampton Street 

STRAND 



IIIMIIIIIIMIMIIMIMIIIM lUlirllMMIIIIIIIIMIIItllllllllllMllllllinilMIIIIIIUIillllMIMIIIIIIIIIIIMIIIIIIIMIIIIIIIIIIIMIMIIIIII 



THE REJUVENATION OF AUNT MARY. 

The famous comedy in three actfl, by Anne Warner. 7 males, 6 
females. Three interior scenes. Costumes modern. Plays 2^ hours. 

This is a genuinely funny comedy with splendid parts for "Aunt 
Mary," "Jack," her lively nephew; "Lucinda," a New England an- 
cient maid of all work; "Jack's" three chums; the Girl "Jack" loves; 
"Joshufti" Avmt Mary's hired man, etc. 

"Aunt Mary" was played by May Robson in New York and on tour 
for over two years, and it is sure to be a big success wherever pre- 
duced. We strongly recommend it. Price, 60 Cents. 



MRS. BUMSTEAD-LEIGH. 

A pleasing- comedy, in three acts, by Harry James Smith, author of 
"The Tailor-Made Man." 6 males, 6 femaJes. One interior scene. 
Costumes modern. Plays 2J4 hours. 

Mr. Smith chose for his initial comedy the complications arising 
from the endeavors of a social climber to land herself in the altitude 
peopled by hyphenated names — a theme permitting innumerable com- 
plications, according to the spirit of the writer. 

This most successful comedy was toured for several seasons by Mrs. 
Fiske with enormous success. Price, 60 Cents. 



MRS. TEMPLE'S TELEGRAM. 

A most successful farce in three acts, by Frank Wyatt and Wil- 
liam Morris. 5 males, 4 females. One interior scene stands through- 
out the three acts. Costumes modern. Plays 2^ hours. 

"Mrs. Temple's Telegram" is a sprightly farce in which there is 
an abundance of fun without any taint of impropriety or any ele- 
ment of offence. As noticed by Sir Walter Scott, "Oh, what a 
tangled web we weave when first we practice to deceive." 

There is not a dull moment in the entire farce, and from the time 
the curtain rises until it makes the final drop the fun is fast and 
furious. A very exceptional farce. Price, 60 Cents. 



THE NEW CO-ED. 

A comedy in four acts, by Marie Doran, author of "Tempest and 
Sunshine," etc. Characters, 4 males, 7 females, though any number 
of boys and girls can be introduced in the action' of the play. One 
interior and one exterior scene, but can be easily played in one inte- 
rior scene. Costumes modern. Time, about 2 hours. 

The theme xJ this play is the coming of a new student to the col- 
lege, her reception by the scholars, her trials and final triumph. 

There are three especially good girls' parts, Letty, Madge and 
Estelle, but the others have plenty to do. "Punch" Doolittle and 
George Washington Watts, a gentleman of color, arc two particularly 
good comedy characters. We can strongly recommend "The New 
Co-Ed" to high schools and amateurs. Price, 30 Cents. 

(The Above Arc Subject to Royalty When Prod^iced) 
SAMUEL FRENCH, 28-30 Weit 38th 5tree«. New York City 

Ntw ami Exfiltcit Descriprivi Catalogue Mailtd Free ee Rewest 



On the Road to Parnassus 



A PLAY IN TWO SCENES 



X' 



BY ,' 
KATHARINE MORSE, A.M. 



Copyright, 1922, by Samuel French 

Amateurs may produce this play without payment of royalty. 
All other rights reserved. 



New York 

SAMUEL FRENCH 

Publisher 

28-30 West 38th Street 



London 

SAMUEL FRENCH, Ltd. 

26 Southampton Street 

STRAND 



PS 3?-^^ 



Cl,0 62539 



i 



Time: The present. Place: A modern school. 
Characters: Four school girls; a Greek youth, 

Apollo ; the Nine Muses; a Prologue. 
First Girl, dreamy, sentimoital. 
Second Girl, just a plain, unimaginative girl. ■ 
Third Girl, bad-nianncred, good-natured, homely. 

comical. 
The Greek Youth, Bellerophon, -who rode 

Pegasus. 



On the Road to Parnassus 



Scene i : Lively music before the curtain rises. Pro- 
logue steps before curtain. 

Prologue : 

We hear so much about emancipation, 
And we strive for higher education ; 
Is there anything left to know 
From the days of long ago? 
We shall see. 

Our scene is, first, a road to Dreamland. 

Our characters, the girls we know so well — 

A group of students joyous. 

And a youth who won't annoy us 

By having of himself too much to tell. 

They are seeking for Apollo and The Muses. 
On Parnassus (where they do what'er he 

chooses). 
Where we find the ancient culture 
And the age of manners rare, — 
On Parnassus with its snowy peak in air. 

Let us follow them on the way 

To a distant, gracious day. 

And find what great Apollo has to say. 

(Same liveh music; curtains part, disclosing a hall- 

5 



6 ON THE ROAE) TO PARNASSUS 

way in a school. Enter fJic four [jirls ; tivo ivith 
arms intertwined, giggling, chattering; the 
comic girl behind these a few steps, preoccupied 
with her notebook, regardless of the others. 
The first girl enters from the opposite side of 
the stage, dreaming, head in air. She bumps 
into the first two violently, whirling them about.) 

First Girl. Oh, pawdon me! 

Second Girl. Well. Daphne! What are you do- 
ing, dreaming in a busy world like this? 

First Girl. Oh, I've been reading Greek myths 
for English class, and I'm on the road to Parnassus 
— (Others giggle derisively) — in imagination. 

Third Girl. (Who has regarded her with amused 
scorn, then returns to the notebook, but looks over 
it, to ask a naive question) Parnassus! It sounds 
vaguely familiar, but dreadfully high-brow. Didn't 
some girls live there once — poets, or musicians, or 
something like that? 

First Girl. Those were The Muses, you silly ; 
and Apollo lived there, too! (Very sentimentally.) 

Third Girl. Thanks, old dear ; my T. Q. in classi- 
cal sul)jects is very low — in fact, a minus quantity. 

First Girl. (Regardless of the interruption] 
Parnassus, Parnassus ! the goal of all my dreams ! 
(Ganges into the distance.) 

Fourth Girl. Oh, you sentimental thing! 

First Girl. Shall T tell you girls what it is? 

(Other girls, half bored, half amused, consent; she 
gathers them around her.) 

Second Girl. All right, go ahead ! 
First Girl. (Roguishly) 

Parnassus is a hill of Greece^ 

Renowned in mvth and fable. 



ON THE ROAD TO PARNASSUS 7 

The Muses Nine there live in peace 
And dance if they are able. 

(Takes a fezv dancing steps. All applaud. — ^'Splen- 
did, Daph! Go on! ) 

And dance if they are able ; 

And if they're not, why, then they sing 

(Those not Terpsichorean) , 

Apollo listens, handsome thing! 

To the music empyrean. 

In balmy Greece these Muses Nine, 

Upon their snowy mountain, 

Just dance and sing ; 

Know everything ! 

And never worry, never pine, 

As I do over tasks of mine ; 

But like their famous fountain, 

Their knowledge bursts 

In joyous spurts. 

Apollo is their teacher — 

That glorious young creature! 

So there my tastes incline. 

And I'm on my way this very day 

To join the Muses Nine. 

(All repeat laughingly ) 
And she's on her way, 
This very day, 
To join the Muses Nine! (All clap.) 

Fourth Girl. (Giggling) It certainly sounds 
attractive ; suppose we all go ! 

Second Girl. Ye-es, but I don't dance Terpsi- 
chorean dances. (She awkzvardly imitates Daphne's 
dancing steps.) 



8 ON THE RO.\g TO PARNASSUS 

Third Girt-. Never mind, you'll learn! 

Fourth Girl. (Reconsidering) And I don't 
play the harp. 

First Girl. Oh. it isn't a real harp, you know; 
it's only a lyre anyway, so don't worry. 

Second Girl. It sounds sort of cold — "snowy 
mountain." 

(All shiver except Third Girl, zvho has for some 
time been absorbed in her notebook again.) 

First Girl. FU tell you what : Let's go up there 
and modernize Parnassus ! Emancipate the Muses ! 
And teach Apollo a few things about modern edu- 
cation ! 

(During this speech a youth in Greek costume has 
entered, looking zvonderingly about him. He is 
Bellerophon, zvho rode Pegasus. He limps 
slightly and leans on a long staff.) 

Third Girl. (Who has seen him from the first 
and interrupts ivith) Look what's just dropped 
down right into the middle of the twentieth century ! 

Fourth Girl. Who is he? 

Second Girl. How good looking ! 

Third Girl. (Skirting around him like a small 
dog) But so unfortunate with his limp! (By this 
time she is on the other side of him, so that he is in 
the midst of the group.) 

Bellerophon. Ah, some girls! Fm right glad 
to meet some cheerful humans. Do you — a — mind — 
a — if I stop awhile, and — a — chat? 

Fourth Girl. (Whispers to others) Let's ask 
him to tell us his story. 

Bellerophon. You want to know all about me. 
I can see that ; and as Fm one of that class called 
geniuses, who always want to talk about themselves, 



ON THE ROAD TO PARNASSUS 9 

it will give me great pleasure to oblige you. Be- 
sides, I haven't seen any real girls for so long that 
I'm fairly aching to know you. (Rubs his lame 
foot.) 

First Girl. (Gushinqly) Do tell us your name 
first. 

Bellerophon. Bellerophon is my name, and I'm 
the hero that tried to ride the winged horse, Pegasus. 
He was the steed, you know, who kicked a hole in 
the Muses' mountain, and a stream of water gushed 
forth — otherwise, poetic inspiration. 

Third Girl. Pegasus! x^nother high-brow name ! 
I never heard of him before. Tell us some more 
about him. 

Bellerophon. (Gathering them about him) 

Did you never hear of a skittish cuss 

Named Pegasus? 

Who kicked up such a precious fuss 

Near Pactolus? 

As you may know, he's a winged horse, 

And every Greek youth felt, of course, 

That he must ride this horse or die; 

Among the lot was I. 

So one day near the Muses' well, 
I waited till his shadow fell, 
And when he came to drink, indeed, 
I caught the winged steed! 

Minerva gave this horse, you know, 
To the Muses many years ago. 
But they were foolish, I surmise; 
(Not all young girls are wise). 

At any rate he flew away. 
And was not found until the day 
When with Minerva's magic rein, 
I caught the steed again. 



10 ON THE ROAD TO PARNASSUS 

Like wine divine, 

I drank the air as up I soared ! 

But when, alas ! Jove's thunder roared, 

I lost my head, and down I fell 

Beside the Muses' well. 

Now, riding Peg was sport enough, 

But falling off was rather tough ; 

So as for me, I certainly 

Do thus to Pegasus. (Kisses fingers to the air,) 

Fourth Girl. How unfortunate that you didn't 
reach your goal ! 

Third Girl. (Derisively) By poetic flights, did 
you say? 

Second Girl. But at least you had one grand 
ride, didn't you? 

Third Girl. You mentioned the Muses. We 
are just starting on the road to Parnassus to find 
them. Come with us ! Apollo will be delighted to 
see a man ; he must get fearfully tired of those nine 
girls all the time ! 

Bellerophon. I'll see you on your way, but no 
more flights for me ! My advice to you is — Don't 
try to ride Pegasus ; he isn't practical. Besides, the 
aeroplane has rather put the old horse out of busi- 
ness. If you must soar, use a modern method. But, 
really, now I think of it, I believe even you modern 
girls might learn some things from old Apollo and 
the Sacred Nine. 

(Bellerophon stands aside courteously to allow 
the girls to pass out before him. Daphne goes 
first with ecstatic expression; Second and 
Fourth Girls with interlocked arms next, 
giggling and chattering; Third Girl has gone 
hack to pick up the precious notebook which 
she dropped in her excitement. This leaves her 



ON THE ROAD TO PARNASSUS ii 

at the opposite side of stage. She then takes 
dancing steps — azvkzvard ones — all the way 
across, singing, "ParjuissKS is a hill of Greece, 
renowned in myth and fable." Bellerophon 
politely zvaifs for her, and sh^^ ends h'^y song 
with a mock curtsey just in front of him as 
they exit.) 

CURTAIN 



Scene 2 : Parnassus, a mountain of Greece. 

Prologue. (In front of curtain, after soft music 
for a moment) 

Parnassus! theme of poetry and song; 
Apollo rules thee and the Muses throng 
There radiantly. They pass the golden hours 
Untouched by storms of earth or human powers. 
Their lives are gentle ; and their manners pure 
Flow from the source of happiness secure. 

What can we restless mortals learn from these, 

Serene above our hurrying destinies? 

Let us pursue our students and their guide, 

And seek Apollo on Parnassus' side, 

With Muses Nine who round their leader 

throng — 
The patrons they of poetry and song — 
And find what words of wisdom they may give 
To us, who still upon this earth must live. 

(Music. Curtains part to disclose Apollo seated on 
a raised dais at the right of stage, looking like 
his classic statue, lyre under left arm, chin on 
right hand. He is musing on human and divine 
events. 

(Enter from left the school girls, led hy Bellero- 
PHON, chattering, giggling; all hut Daphne, 
zvho sees the god immediately and gazes at him 
with awe and delight. 

(Apollo rises courteously in expectation of a greet- 
ing. Bellerophon hozvs deeply, then leans on 
12 



ON THE ROAD TO PARNASSUS 13 

Jiis staff iu aniitscd tolcnince, ivaiting for the 
noise to subside. Daphne utofions to the others 
to he quiet, but they pay no attention at first. 
Under Apollo's statuesque calm, hoivever, the 
chatter gradually dies dozvn; one girl after an- 
other looks at him, abashed, until only the 
Third Girl is left talking. She says, "Listen!" 
(Apollo gazes at her in deep consideration. She 
giggles and rearranges her hair in embarrass- 
ment. He continues his imperturbable calm un- 
til she is quiet.) 

Apollo. Mortals, evidently, are you not? You 
will pardon me if I note your lack of immortal calm 
in voice and gestvu-e. What seek you on Mount 
Parnassus ? Ah, Bellerophon ! still limping, I see. 
after that unfortunate fall. I trust you have learned 
wisdom since that accident and have not again 
aspired to reach the abode of the gods. 

(Bellerophon shrugs his shoulders in whimsical 
resignation, then bows gracefully to Apollo. j 

First Girl. (Effusively) Great Apollo! We 
have come to seek inspiration, ideas, motivation, 
higher education — maybe to give some — (Coquet- 
ishly). We have decided to be teachers, and we 
have heard that you are one of the greatest teach- 
ers who live. Give me some hints for our life work ! 

Apollo. Do you by chance know the great Greek 
maxim that is carved on the doorways of many of 
their temples — the advice I gave my son, Phaethon, 
when he drove my chariot too near the earth? 

Girls. Nah ! Uh ! Uh ! (They shake their heads 
as if all this were very much beside the point and 
they zvere distinctly bored. Daphne, however, is 
open to conviction and listens attentively.) 

Apollo. Ah ! I see the moderns have new meth- 
ods of responding to question. 



14 ON THE ROAD TO PARNASSUS 

Daphne. (Rebuked) No, great Apollo, what 
was the maxim? 

Apollo. My advice to Phaethon was, Avoid ex- 
tremes ; the middle path is best. Do you mortals 
know as yet the niceties of dress and manner, the 
gentle ways of living, the social graces, the charm 
of unhurried movements, the beauty of a woman's 
voice? It is long since I have strayed amongst you 
dwellers upon earth. 

(During these questions the girls anszver, "Sure! 
Certainly! Of course! Yes!" Apollo pauses 
in each case for silence before proceeding.) 

Apollo. (Signaling) Muses Nine! 

(Enter the Muses from each side. They take classic 
postures in greeting to Apollo. Girls retire 
to back stage, where they exchange notes on the 
Muses. j 

Apollo. Our guests to-day are some mortals, 
maidens from yonder Earth's metropolis, and their 
guide, Bellerophon. Make them welcome to Par- 
nassus. Calliope, Clio, Erato, Euterpe, IMelpomene, 

Polymnia, Terpsichore (Third Girl, giggling, 

''Oh, that's the one that dances!'') 

Apollo. (Waiting with calm for silence) Thalia, 
Urania. Let us offer the divine nectar to our 
guests. 

(During the introduction of the Muses they ad- 
vance and bozv to the Girls, shozving hozv young 
ladies should acknowledge an introduction. 
Much byplay among the girls meanzvhile. Enter 
Hebe bearing a Greek amphora and drijiking 
vessels. She salutes Apollo. j 



ON THE ROAD TO PARNASSUS 15 

Apollo. Serve our guests with the drink of the 
gods. 

(Here follows a lesson in serving properly;' Hebe 
doing it beautifully, the Girls accepting awk- 
wardly. The Fourth Girl is inuch taken with 
Hebe and cranes her head after her, so that she 
forgets to raise her cup to Apollo as the others 
are doing, and has to he nudged by the Third 
Girl. All drink to Apollo. Hebe then removes 
the cups. Music during this function.) 

Apollo. Let. music sound, Terpsichore! 

(Terpsichore advances with, rhythmic uioveuients 
and ivaves to unsecji singers. A chorus back of 
the stage sings, zvhile the Girls scat themselves 
on a Greek bench at Apollo's right and below 
his dais. Muses in statuesque attitudes listen 
to the music.) 

Girls. Oh, good ! Good! (They applaud loudly.) 

Apollo. (Rises and starts to speak) \Mien the 
gods when to school to old Centaur 

Girls. Centaur! Who was he^ 

Apollo. Those who interrupt another are not 
allowed to speak again at the councils of the gods. 
As I was saying, old Centaur, as you know, was 
half-man, half-horse — very old and ugly, very pecu- 
liar ; in fact, a wise but rather severe old pedagogue. 
The heroes and most of the gods went to school to 
him. We had hard work to learn that the old, the 
maimed, and the unfortunate must be shown the 
gentlest deference by the young. 

PoLYAiNiA. Apollo! (He inclines toward her.) 
May I not ask the mortals a question ? (He assents ) 
What mean certain motions you use from time to 
time? For instance, your foot? Is it a new rhyth- 



i6 ON THE ROAD ^O- PARNASSUS 

mic motion of the body, or perchance a sad affliction 
of what you moderns call nerves, that you continu- 
ally swing it to and fro? I, too, wish to learn. 
(Girls giggle and keep feet quiet.) 

Urania. And you, mortal, what perennial food 
do you constantly chew ? Is it some immortal nour- 
ishment, like our ambrosia? 

Erato. And why do you apply to your charming 
features a foreign substance out of a small box? 
Is it to ruin your beauty, or perchance the symbol 
of some new cult? 

Clio. And your features and hands twist continu- 
ally, and you rearrange your hair from time to time, 
and your vesture also. Why do you do these things ? 

First Girl. (Springing to her feet, somezvhaf 
nettled ) Oh, we are modern youth ; we are eman- 
cipated from your stiff old conventions ! 

Muses. Are we stiff? 

Second Girl. Listen, girls! This isn't what we 
came to Parnassus for. We are not telling them 
anything about modern education. 

Bellerophon. I've had some experience as a 
mortal, and I've also known something of the gods. 
Listen to them and be wise. 

Urania. We were taught by great Apollo, when 
the world was young, that stillness of person and 
steadiness of feature are signal marks of good 
breeding. 

Fourth Girl. Oh, our own Emerson said that! 

Urania. And he drank from the Muses' well. 

Apollo. May I, too, be inquisitive? Why do 
you address one another as — "Listen !" Have you 
but one name amongst you? And why shout in an- 
other's ear when she is near enough to hear a whis- 
per? 

Third Girl. Oh, we live in New York, where 
noise is everywhere. It isn't calm there like Par- 
nassus. 



ON THE ROAD TO PARNASSUS 17 

Terpsichore. But our guests grow restive under 
our well-meant questionings. Can we not entertain 
them with matters more to their taste? 

First Girl. (Gushingly) Oh, if you only 
would 

Terpsichore. What, gentle maiden? 

First Girl. Dance for us ! As you are wont to 
do on high Olympus, when all the gods meet in 
council, and Apollo plays the lyre. 

All the Girls. Ah, do! Dance for us. Muses! 

(Muses uwve in rhythmic figures while Apollo 
touches the lyre. Soft music from back of 
stage. Bellerophon and Girls on benches 
zmtch delightedly.) 

Second Girl. (Rises and comes forward, partly 
addressing the audience) Really, girls, it is lovely 
here, so high and serene, and how sweet the Muses 
are, and how stately Apollo ! Perhaps lovely man- 
ners and calm voices and unhurried movements, as 
Apollo says, might help our education as much as 
what we get out of books. Maybe higher educa- 
tion, after all, means more than passing examina- 
tions. But life calls us ; we must go back to earth. 

First Girl. Lord of the lyre! Delphic Apollo! 
Muses of the Sacred Well ! Our duty calls us away 
from these high presences. We thank you for the 
stately entertainment, for the reminders you have 
given us of truths that are as old as time and as 
young as the morning. We know but we forget. 
We realize that true education means the develop- 
ment of our better and finer selves. We thank you 
again! Will you not remember us sometimes when 
the sun is shining on the white clouds above Par- 
nassus, and we are struggling in a workaday world? 
Perhaps a shaft of your radiance may reach us and 
illuminate our path. 



i8 ON THE ROAD.TO PARNASSUS 

(Apollo and Muses in statuesque attitudes. They 
do not speak again, hut by means of lighting 
effects take more and more the effect of statu- 
ary.) 

Bellerophon. I'll see you back the way you 
came. 

First Girl. Nay, by a better way ! But, after 
this, shall we not always be On the Road to Par- 
nassus? Farewell, Great and Wise Ones! Fare- 
well! 

All Girls. Farewell ! 

(Tableau for a moment: Girls and Bellerophon 
at left of stage in attitude of farewell, Apollo 
and Muses at right.) 

CURTAIN SLOWLY 



DOROTHY'S NEIGHBORS. 

A brand new comedy in four acts, by Marie Doran, author of "The 
New Co-Ed," "Tempest and Sunshine," and many other successful 
plays. 4 males, 7 females. The scenes are extremely easy to 
arrange; two plain interiors and one exterior, a garden, or, if neces- 
sary, the two interiors will answer. Costumes modern. Plays 2'/2 
hours. 

The story is about vocational training, a subject now widely dis- 
cussed; also, the distribution of large wealth. 

Back of the comedy situation and snappy dialogue there is good 
logic and a sound moral in this pretty play, which is worthy the 
attention of the experienced amateur. It is a clean, wholesome play, 
particularly suited to high school production, I'rice, 30 Cents. 



MISS SOMEBODY ELSE. 

A modern play in four acts by Marion Short, author of "The 
Touchdown." etc. 6 males, 10 females. Two interior scenes. Cos- 
tumes modern. Plays 2]/^ hours. 

This delightful comedy has gripping dramatic moments, unusual 
character types, a striking and original plot and is essentially modern 
in theme and treatment. The story concerns the advetures of Con- 
stance Darcy, a multi-millionaire's ycung daughter. Constance em- 
barks on a trip to find a young 'man who had been in her father's 
employ and had stolen a large sum of money. She almost succeeds, 
■when suddenly all traces of the ycung man are lost. At this point 
she meets some old friends who :.:-e living in almost want and, in 
order to assist them through motives benevolent, she determines to 
sink her own aristocratic personality in that of a refined but humble 
little Irish waitress with the family that are in want. She not only- 
carries her scheme to success in assisting the family, but finds 
romance and much tense and lively adventure during the period of 
her incognito, aside from capturing the young man who had defrauded, 
her father. The story is full of bright comedy lines and dramatic 
situations and is highly recommended for amateur production. This 
is one of the best comedies we have ever offered with a large num 
ber of female characters. The dialogue is bright and the play is full 
of action from start to finish; not a d"ull moment in it. This is a 
great .comedy for high schools and colleges, and the wholesome story 
will please the parents and teachers. We strongly recommend it. 

Price, 30 Cents. 



PURPLE AND FINE LINEN. 

An exceptionally pretty comedy of Puritan New England, in three 
acts, by Amita B. Fairgrieve and Helena Miller. 9 male, 5 female 
characters. 

This is the Lend A Hand Smith College prize play. It is an ad- 
mirable play for amateurs, is rich in character portrayal of varied 
types and is not too difficult while thoroughly pleasing. 

Price, 30 Cents. 

(The Above Are Subject to Royalty When Produced) 
SAMUEL FRENCH, 28-30 West 38th Street, New York City 

Ntw and Explicit Descriptive Catalogue Mailed Free on Request 



BILLJITED. 

A comedy m 3 acts, by F. Tennison Jesse and H, Harwood. 4 
males. 5 females. One easy interior seen". A charming comedy, 
constructed with uncommon skill, and abounds with clever lines. 
Margaret Anglin's bfe success. Amateurs will find this comedy easy 
to produce and popular with all audiencee. Price, 60 Cents. 



NOTHING BUT THE TRUTH. 

A comedy in 3 acts. By James Montgomery. 5 males, 6 females. 
Costumes, modern. Two interior scenes. Plays 25^2 hours. 

Is it possible to tell the absolute truth — even for twenty-four hours? 
It is — at least Bob Bennett, the hero of "Nothing But the Truth/* 
accomplished the feat. The bet he made with his business partners, 
and the trouble he got into — with his partners, his friends, and his 
fiancee- — -this is the subject of William Collier's tremendous comedy 
hit. "Nothing But the Truth" can be whole-heartedly recommended 
as one of the most sprightly, amusing and popular comedies that this 
country can boast. Price, 60 Cent*. 



IN WALKED JIMMY. 

A comedy in 4 acts, by Minnie Z. Jaffa. 10 males, l"" females (al- 
though any number of males and females may be used as clerks, 
etc.). Two interior scenes. Costumes, modern. Plays 2J4 hours. 
The thing into which Jimmy walked was a broken-down shoe factory, 
when the clerks had all been fired, and when the proprietor was in 
serious contemplation of suicide. 

Jimmy, nothing else but plain Jimmy, would have been a mysterious 
figun had it not been for his matter-of-fact manner, his smile and 
his everlasting humanness. He put the shoe business on its feet, won 
the heart of the girl clerk, saved her erring brother from jail, escaped 
that place as a permanent boarding house himself, and foiled the 
villain. 

Clean, wholesome comedy with just a touch of human nature, just 
a dash of excitement and more than a little bit of true philosophy 
make "In Walked Jimmy" one rf the most delightful of plays. 
Jimmy is full of the religion of life, the religion of happiness and 
the religion of helpfulness, and he so permeates the atmosphere with 
his "religion" that everyone is happy. The spirit of optimism, good 
cheer, and hearty laughter dominates the play. There is not a dull 
moment in any of the four acts. We strongly recommend it. 

Price, 60 Cents. 



MARTHA BY-THE-DAY. 

An optimistic comedy in three acts, by Julie M. Lippmann, author 
of the "Martha" stories. S males, 5 females. Three interior scenes. 
Costumes modern. Plays 2Si hours. 

It is altogether a gentle thu.g, this play. It is full of quaint hu- 
mor, old-fashioned, homely sentiment, the kind that people who see 
the play will recall and chuckle over to-morrow and the next day. 

Miss Lippmann has herself adapted her very successful book for 
stage service, and in doing this has selected from her novel the most 
telling incidents, infectious comedy and homely sentiment for the 
play, and the result is thoroughly delightful. Price, 60 Cents. 

(The Above Are Subject to Royalty When Produced) 
SAMUEL FRENCH, 28-30 We,t 38th Street, New York City 

New and Explicit Descriptive Catjiogue Mailed Free on Request 



The Touch-Down 

A comedy in four acts, by Marion Short. 8 males, 6 females, but 
any number of characters can be iatroduced in the ensembles. Cos- 
tumes modern. One interior scene throughout the play. Time, 2j4 
hours. 

This play, written for the use of clever amateurs, is the story of 
life in Siddell, a Pennsylvania co-educational college. It deals with 
the vicissitudes and final triumph of the Siddell Football Eleven, and 
the humorous and dramatic incidents consccted therewith. 

"The Touch-Down" has the true varsity atmosphere, college songs 
are sung, and the piece is lively and entertaining throughout. High 
schools will make no mistake in producing this play. We strongly 
recommend it as a high-class and well-written comedy. 

Price, 30 Cents. 

Hurry^ Hurry^ Huny 

A comedy in three acts, by LeRoy Arnold. 5 males, 4 females. 
One interior scene. Costumes modern. Plays 2J4 hours. 

The story is based on the will of an eccentric aunt. It stipulates 
that her pretty niece must be affianced before she is twenty-one, and 
married to her fiance within a year, if she is to get her spinster 
relative's million. Father has nice notions of honor and fails to tell 
daughter about the will, so that she maj^ make her choice untram- 
meled by any other consideration than that of true love. The action 
all takes place in the evening the midnight of which will see her 
reach twenty-one. Time is therefore short, and it is hurry, hurry, 
hurry, if she is to become engaged and thus save her father from 
impending bankruptcy. 

The situations are intrinsically funny and the dialogue is sprightly. 
The characters are natural and unaffected and the action moves with 
a snap such as should be expected from its title. Price, 30 Cents. 

The Varsity Coach 

A three-act play of college life, by Marion Short, specially adapted 
to performance by amateurs or high school students. 5 males 6 
females, but any number of boys and girls may be introduced in the 
action of the play. Two settings necessary, a college boy's room and 
the university campus. Time, about 2 hours. 

Like many another college boy, "Bob" Selby, an all-round popular 
college man, becomes possessed of the idea that athletic prowess is 
more to be desired than scholarship. He is surprised in the midst of 
a "spread" in his room in Regatta week by a visit from his aunt 
who is putting him through college. Aunt Serena, "a lady of the old 
school and the dearest little woman in the whole world," has hastened 
to make this visit to her adored nephew under the mistaken impression 
that he is about to receive the Fellowes prize for scholarship. Her 
grief and chagrin when she learns that instead of the prize Robert 
has received "a pink card," which is equivalent to suspension for poor 
scholarship, gives a touch of pathos to an otherwise jolly comedy of 
eolkjfe life. How the repentant Robert more than redeems himself, 
carries off honors at the last, and in the end wins Ruth, the faithful 
little sweetheart of the "Prem" and the classroom, makes a story of 
dramatic interest and brings out very clearly certain phases of modern 
college life. There are several opportunities for the introduation of 
college songs and "stunts." Price, 30 Cents. 

(The Above Are Subject to Royalty When Produced) 
SAMUEL FRENCH, 28-30 We»t 38th Street, New Yofic City 

New and Exfriictt OescriptiYe Cataiosue Malted Free os Xei|iitst 



LIBRARY OF CONGRESS 

015 873 716 4 • 



The Return, of Hi Jinks 

A comedy in four acts, by Marion Short, author of "The Varsity 
Coach," "The Touch-Down," etc. 6 males, 8 females. Costumes 
modern. One interior scene. 

This comedy is founded upon and elaborated from a farce comedy 
in two acts written by J. H. Horta, and originally produced at Tuft's 
College. 

Hiram Poynter Jinks, a Junior in Hoosic College (Willie Collier 
type), and a young moving picture actress (Mary Pickford type), are 
the leading characters in this lively, modern farce. 

Thomas Hodge, a Senior, envious of the populafity of Jinks, wishes 
to think up a scheme to throw ridicule upon him during a visit of 
the Hoosic Glee Club to Jinks's home town. Jinks has obligingly acted 
as a one-day substitute in a moving picture play, in which there is a 
fire scene, and this gives Hodge his cue. He sends what seems to 
be a bona fide account of Jink's heroism at a Hoosic fire to Jink's 
home paper. Instead of repudiating his laurels as expected, Jinks 
decides to take a flyer in fame, confirms the fake story, confesses to 
being a hero and is adoredi by all the girls, to the chagrin and dis- 
comfiture of Hodge. Of course, the truth comes out at last, but 
Jinks is not hurt thereby, and his romance with Mimi Mayflower 
comes to a successfvil termination. 

This is a great comedy for amateurs. It is full of funny situations 
and is sure to please. Price, 30 Cents. 



June 



A most successful comedy-drama in four acts, by Marie Doran, 
author of "The New Co-Ed," "Tempest and Sunshine," "Dorothy's 
Neighbors," etc. 4 males, 8 females. One interior scene. Costumes 
modern. Plays 2% hours. 

This play has a very interesting group of young people. June is 
an appealing little figure, an orphan living with her aunt. There are 
a number of delightful, life-like characters: the sorely tried likeable 
Mrs. Hopkins, the amusing, haughty Miss Banks of the glove depart- 
ment, the lively Tilly and Milly, who work in the store, and ambitious 
Snoozer; Mrs. Hopkins's only son, who aspires to be President of the 
United States, but finds his real sphere is running the local trolley 
car. The play is simplicity itself in the telling of an every-day story, 
and the scenic requirements call for only one set, a room in the 
boarding house of Mrs. Hopkins, while an opportunity is afforded to 
introduce any number of extra characters. Musical numbers may be 
introduced, if desired. Price, 30 Cents. 

Tempest and Sunshine 

A comedy drama in four acts, by Marie Doran. 5 males and 3 
females. One exterior and three interior scenes. Plays about 2 hours. 

Every school girl has revelled in the sweet simplicity and gentle- 
ness of the characters interwoven in the charms that Mary J. Holmes 
command* in her story of "Tempest and Sunshine." We can strongly 
recommend this play as one of the best plays for high school pro- 
duction published in recent years. ^ Price, 30 Cents. 

(The Above Are Subject to Royalty When Produced) 
SAMUEL FRENCH, 28-30 West 38th Street, New York City 

New and Explicit Descriptive Catalogue Mailed Free en Request 



